2. 1 click Hi and WelcomeSlide 1 Please complete each slide as you go. I have marked the number of clicks each slide needs for the complete picture on the top left of each page. Most slides only need one. 1.Read the slide 2. Click(some systems need a double click) on the sound clip and listen as many times as you need. 3. Right click on the Hyperlink, move the pointer to Open Hyperlink and click. Answer all the questions as you go – If you want to go back and add to them later could you do this in italics as I would like to know your first response to the question. If you don’t understand something just put that down too. Thanks heaps Kath Hyperlink 1 HyperlinkHyperlink 1

3. Vowels and Air Flow in Singing How Science can help? 1 click Hyperlink 2 Slide 2

4. Vocal Research Earlier Research Cadavars Dog/cat larynx Comparative Morphology & Physiology Models – Computational Current Research Voice Research Laboratories & Rothenburg Mask Breath flow dynamics Air breathe pressure flow Vocal fold movements Hyperlink 3 Slide 31 click

5. Definitions or Descriptions Glottis – space between vocal folds Larynx - Vocal folds and glottis plus bones and muscles involved Epilarynx – from vocal folds to the constriction of the tongue Epilarynx tube - from vocal folds to top of epiglottis Folds HyperlinkHyperlink 4 Slide 41 click

6. Diagram 1 Sound at Vocal folds (glottis) showing the harmonics and how loud each one is.. Diagram 2 Sound as it comes out the mouth from Vocal tract. The peaks in the harmonics are called Formants Energy (in decibels) is added by vocal tract –HOW? Formant 1 F1H2 Slide 5 Hyperlink 5 7 clicks

7. Linear Source-Filter Theory of Voice Air Flow: Source of sound independent of Filter Glottis Sinus spaces in head Mouth Source Filter Vocal Tract Filter Slide 6 Hyperlink Hyperlink 6 THEORY 1 AIR FLOW 1 click

8. Vocal chart showing where resonance is “made” Slide 7 Hyperlink 7 1 click

9. Non-Linear Source Filter Coupling Theory: Source of sound affected by (coupled) to filter. Discuss: Resonance Aerodynamics of one end closed tube (Newton's Second Law of Motion) Vowel Production Slide 8 HyperlinkHyperlink 8 THEORY 2 1 click

10. Resonance Resonance is the tendency of a system to oscillate with greater amplitude at some frequencies rather than at others. Small periodic driving forces can produce large amplitude oscillations. so Aerodynamic energy is more easily converted to acoustic energy. Two Kinds Fixed Resonance Chest & head vibrations(personal) Free Resonance made in the vocal tract, felt in the ‘head spaces’ can be tuned using formant vowels at various frequencies Slide 9 HyperlinkHyperlink 9 1 click

11. Resonance: WHAT HAPPENS? Aerodynamics of closed - open tube follows Newton's Law for Air Column. Multiple reflections cause a Standing Wave so Resonance occurs. Vocal folds (glottis) Back of tongue Slide 10 HyperlinkHyperlink 10 Click 6 times on this slide to see how the wave works 6 clicks

12. Closed – open tube with non uniform and bidirectional particle velocity FO > F1 i.e. Singing Now the Closed – Open Tube does not act like lumped air mass The pressure above the glottis accelerates & decelerates the air column above glottis causing sound waves. When air particles act like this we have an Inertive Vocal Tract Inertance – acoustic property of air mass accelerated (or decelerated) by pressure Sudden Phase reversal allows supraglottal pressure to be in phase with vocal fold pressure (Inertive reactance) IVT (inertive vocal tract ) is the push - pull mechanism opening and closing the vocal fold Slide 11 HyperlinkHyperlink 1111 1 click

13. Supraglottal pressure: Vocal tract Input Pressure Vocal tract flow Intraglottal pressure: Transglottal Pressure Glottal flow Subglottal pressure: Subglottal Input Pressure Subglottal Flow c.f. PTP Prephonatory Threshold Pressure Relative Impedance: Intraglottal pressure in relation to supraglottal pressure Slide 12 Hyperlink 12 Some new definitions 1 click

14. Non-Linear Source Filter Coupling Theory: Source of sound affected by (coupled to) filter. Epiglottis Source Slide 13 HyperlinkHyperlink 13 1 click

15. AIR FLOW DYNAMICS: ANOTHER WAY OF LOOKING AT COUPLING. IMPEDANCE = RESISTANCE + REACTANCE (Coupling) (Energy Dissipating) (Energy Storing) Inertive Vocal Tract Compliant Vocal Tract (Positive reactance) (Negative reactance) Supraglottal Pressure. Supraglottal Pressure not in phase with Intraglottal in phase with Intraglottal Pressure. Pressure. Slide 14 HyperlinkHyperlink 14 1 click

16. Epilarynx tube 2-3cm at glottal end of vocal tube Can be narrowed without compromising articulation by tongue jaw, lips or velum So consider inertance in 2 tubes A. simple closed end tube B. Closed end tube with initial narrowing Slide 15 HyperlinkHyperlink 15 1 click

17. Diagram showing Epilarynx tube Slide 16 HyperlinkHyperlink 16 Epilarynx tube Arytenoid Trachea Epiglottis Vocal folds False folds Thyroid cartilage Crycoid cartilage A.Wide opening of epilarynx - Simple closed end tube B. Narrow opening of epilarynx - Closed end tube with initial narrowing 1 click

18. Conclusions 1.Inertance not constant with frequency therefore air particle movement is not uniform along vocal tract 2. Inertance is increased by epilarnyx narrowing although there are still frequencies where no inertance occurs Slide 17 HyperlinkHyperlink 17 --------------- B. Closed end tube with initial narrowing A. simple closed end tube 1 click

19. 2 click Summing Up So IF The epilarynx is the right length for that pitch (frequency). The epilarynx tube is narrowed so peaks of inertance are used. The back of the tongue is the right height. THEN Some of the sound wave will be reflected (bounced) back creating resonance. How do singers control this? epilarynx Slide 18 HyperlinkHyperlink 18

20. /i/ heed 1. The Tongue is the major ‘shaper’ of the formants /a/ father Red area shows approximate length of air tube for these two different vowels /i/ a high front vowel, /a/ a low back vowel. Slide 19 HyperlinkHyperlink 19 2.Vocal tract inertance changes with each vowe l 5 click

21. Vowels adjust the epilarynx, epilarynx tube and the back of the tongue This can also be shown on a Vowel Chart Palate Middle tongue e Slide 20 HyperlinkHyperlink 20 2 click

22. Low Back Where does the tongue go? /i/ heed / e/ geh (Gr) /u/ blue /a/ father High Front HyperlinkHyperlink 21 Slide 21 15 click

23. An idea to help in the studio Simplify how you describe the Tongue Root Back Middle Front Tip Slide 22 HyperlinkHyperlink 22 2 click

24. An idea to help in the studio The Cardinal Vowels are not made clearly in New Zealand speech (see Hyperlink 23) Using the finger inside the mouth while making the vowels allows the student to realise where the different vowels are made. This can then be linked to formant tuning. Slide 23 HyperlinkHyperlink 23

25. So we have looked at Resonance Aerodynamics of Vocal Tract Vowel Formation Now we are ready to look at Formant Tuning Every vowel has its own formant pattern (Pattern of frequencies where the harmonics are resonated or amplified) Slide 24 Hyperlink 24 1 click

26. /i/ /u/ /o/ /e/ /a/ Formants for Cardinal Vowels (Female) Frequency(pitch) Slide 25 HyperlinkHyperlink 25 1 click

27. /i/ /a//o/ /u//e/ Formant Pitches for Cardinal Vowels (Female) pitch D4#F4#G5#D5D5# Slide 26 HyperlinkHyperlink 26 2 clicks

28. The formant vowel produce the most resonance at the formant pitch Female /i/ /u/ /o/ /e/ /a/ Male /i/ /u/ /e/ /o/ /a/ Slide 27 HyperlinkHyperlink 27 1 click

29. HOW? By using formant vowels at the formant pitches, we know we have adjusted the epilarynx, the epilarynx tube and the tongue to improve resonance. Females: /i/ heed D4 # Males: /i/ heed C4 /u/ blue F4 # /u/ blue D4 # /o/ boat D5 /e/ geh (Gr) C5 /e/ geh (Gr) D5 # /o/ boat D5 /a/ father G5 # /a/ father F5 # Slide 28 Hyperlink 28 1 click

30. Studio Hint 1.Use stick-on stars on the piano lid with the formant vowels from slide 27 written on. Use different coloured stars for each voice type. (male/female) You will quickly find these really useful to help you formant tune the voice. Slide 29 Hyperlink 29 1 click

31. Studio Hint 2.Formant tuning. Use the charts on Hyperlink 30 – one for each voice type – to further explore the resonance made with the formant vowel for each voice type. You are getting the best resonance at each pitch. Used alongside Voce Vista, formant tuning can show the improved F1H1 when the vowel and formant tuning work together Use the formant vowels to practice difficult sections of a piece, especially those which move through transition or students are having trouble with legato Slide 30 HyperlinkHyperlink 30 1 click

32. Studio Hint 3. Vowels a. Vowel matching e. g.If a soprano needs to sing an /a/ on an E4, sing it first on the /i/ vowel (the formant vowel for that pitch) to feel the resonance affects – the vocal tract is now at the right length. Match this resonance effect to the /a/ vowel at this pitch. b. Vowel definition - aural. I find the use of the finger on the tongue allows students to improve their aural recognition of vowels and vowel changes very quickly. Slide 31 HyperlinkHyperlink 31 1 click

33. Studio Hint 4. Transition Across the transition areas of the voice, the vowel changes can be linked to formant pitches to stabilize the vocal fold vibration (Inertive reactance) Some examples of this are given in the hyperlink Slide 32 HyperlinkHyperlink 32 1 click

34. 3 effects of formant tuning The formant vowels are used at formant pitch produce maximum resonance The sound is amplified (resonance) in the vocal tract. The vocal fold vibration is stabilized by air flow dynamics (inertance) producing an IVT Inertive Vocal Tract Slide 33 HyperlinkHyperlink 33 1 click

35. References Abbott, K., Titze, I. (2012) Vocology The Science and Practice of Voice Habituation. National Centre of Voice Science (NCVS) :Utah. Anthomy, J., Douglas, W., David, G. (2000). Anatomy and Physiology for Speech, Language, and Hearing (2nd ed.). Thomson Learning: Canada. Bozeman,K.,(2013) Practical Vocal Acoustics. Pendragon:New York McCoy,S. (2012) Your Voice: An Inside View. Inside View Press: Princeton. Miller,D. (2008) Resonance in Singing. Princeton: Inside View Press. Nix,J. (2008) Voice Research and Technology: Vowel Modification Revisited. Journal of Singing 61.2.173-176. Titze. I.R. (1988) The Physics of Small Amplitude Oscillation of the Vocal folds. Journal of the Acoustical Society Of America 3(4),1536-1552. Titze. I.R. (2000) Principles of Voice Production (2nd ed.). National Centre of Voice Science (NCVS) :Utah. Titze. I.R. (2006) The Myoelastic Aerodynamic Theory of Phonation. National Centre of Voice Science (NCVS) :Utah. Slide 34